The fashion icon Edward Enninful reflects on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

An unexpected discovery during a tube journey in 1988 altered the course of a teenage Ghanaian newcomer to Britain. Discovered for modeling, Edward Enninful was swiftly pulled into the London's vibrant 1990s creative scene, progressing from model to stylist and, before turning twenty, becoming the style editor of the publication i-D.

"It was the height of the Britart scene – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he remembers. "Then Naomi Campbell for a cover, and I knew we’d be close. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that spontaneity."

If Enninful sounds wistful, he is far from alone. Lately, a longing look back of the 1990s has reached fever pitch. But in the intervening decades, Enninful believes a noticeable regression. "I believe, we’re less tolerant now than we were in the 90s," he remarks. "It’s not even this country – it’s a global phenomenon."

Shifting Attitudes

This change is difficult to overlook: the resurgence of nationalist groups, the backlash against progressive values, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, currently a different political force stands as a possible leader. Furthermore, the Union Jack, once an symbol of national pride, has sparked debate once more.

According to Enninful, the antidote has long been to champion culture in all its variety. This was the driving force behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of influential figures from literature.

"People with a voice should employ it," he comments, referring to those publishing choices. "People often debate about immigration; I wouldn't be here if Britain was not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this phase will fade."

Hope in the Next Generation

He draws solace in the youth of today: "Their awareness is greater than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would forge a pioneering career characterised by boldness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, plus-sized women, older individuals, and individuals from all walks of life. Importantly, sales increased.

"Ignoring vast segments of the population, it’s more than that you’re failing to represent – it’s a poor strategy," he explains.

A New Chapter as a 'Disruptor'

He has recently launched his agency EE72 and its flagship publication, 72, his key endeavour since leaving his previous role. He says he wants to continue being a "disruptor".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the doctors, the attorneys, the president. Then we came to England, penniless, and I was a minority. I was incredibly timid. My teachers said I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a dual identity both an insider and outsider."

Contrary to the popular image of fashion editors as brash and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of adversity, including publicly shared struggles with depression and addiction.

He has also faced significant health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I thought, if this ever is over, I’m just going to embrace every opportunity that I was so scared to do. I’m not going to restrict myself to just being an editor or a figure in fashion."

The Tate Britain Exhibition

This drive to fit into a box has propelled him beyond the world that built his career. He is now organising a major 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to evoke the decade's artistic collaboration – and highlight those who did not receive a spotlight at the time.

"Institutions didn't always shine a light on the truly innovative creators because they did not have the traditional credentials," he states.

This venture itself uses a novel business model, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an event, a series? The magazine is part of a greater ecosystem."

An Unstoppable Drive

Currently, Enninful operates as one of the world's most respected cultural influencers. His journey, he feels, is a testament to the power of following your instincts.

How would the Enninful of that era make of the man he has become? He laughs heartily. "It would be a surprise, but he’d be pleased. In those days I was anti-establishment. I would not have believed institutions like Tate were within my reach."

He reflects. "Gratitude is key. We fled, we left our homeland. I came close to losing my vision. So fear isn't an option. People have doubted me my entire life. But no obstacle is too great once I’ve made up my mind to do something."